As is usual with him, these sculptures in which mass geometry and magnetism are exposed in a strict procedure to carry a dialogue that takes place in equilibrium oscillating, trembling on the brink of collapse yet conveys the same sense of permanence, solidity while others, which can transmit, not architecture or a particularly successful piece of sculpture, but realities that exist beyond their physical incarnation, a good metaphor, a mathematical formula, a happy thought.
And it is still striking to see how this almost childlike curiosity for the genesis and how-are-made vanish before the consummation of the work, and even when it has been able to see Herminio engaged in the assembly of each piece, lifting laboriously with the help of two operators, including scaffolding, packaging and parts still inert, yet disabled- each of the detailed engineering that swings on a corner, or sit on the edge vibration on an invisible magnetic bed. At the time the scaffolding is removed, the dishes disappear and the sculptor himself removed, broom in hand, any other impurities that may remain about the piece or acceded to its pristine surface, the work appears as if it appeared there by itself in all its perfection, and there were to be forever.
principles Herminio's work remain the same, he could not be otherwise, in the same way that the principles of physics or mathematics remain unaltered: a quintessential beauty dimensional geometric features put into a state of maximum stress sensitive but , prepared according to strict rules and proportions to vibrate and emit their music as the string of a lyre Pythagorean, at the very edge between stability and instability.
What changes are the elements through which these principles are embodied unchanged. In E pur si muove -Galilean resonances significant title he has chosen for the exhibition-Herminio erected massive and strong pieces that echo three-dimensional fine poems of his last individual sailors in Gijón. More in line with the work that last year he made his landing in the gallery overwhelming Cayón of Madrid and just display in Arco, and more sustained on the game with the triangle, the geometric figure more ambiguous stability, "E pur si muove brings new features like the use of glass, adding planes and depths, and the presence of new colors that enrich the usual palette of white supremacist, black and red: a deep blue a yellow pop introduces a nearly unprecedented recall in Herman, applied with the same painstaking industrial technology that converts lacquered aluminum otherwise; not the synthesis of a material and a metal color-painted and finished with a sophisticated treatment-ceramic glazes, but a kind of new element in chemically pure state, like new in a vein of pure alien.
From there, the exhibition is divided between free-standing sculptures, sometimes on its own mass quartermaster and other gadgets and enigmatic, as totems from another world, with more intimate pieces and collected; horizontal and vertical compositions arranged on the wall by way of relief, series, also on the wall, where the play of light on the sculpture starts shadow drawings, and as drawings are confined in a frame, or portents as the tiny piece of wire fragments connected as small strokes that rotates, rises and collapses on a mirror, not so much a cartoon as something organic, a way of life provided to its unfathomable filiforme tropisms.
And in the center of everything, a mobile in which two slim black bars rotate slowly, facing and approaching, never touching, in a pas de deux that resembles some form of courtship, and generated from the initial stability of the triangles parallel starring much of this exposure. Just like the microscopic views of a fragment of sandstone of a pyramid, a marble or granite classical sculpture of a cathedral chairs reveal its structure and ultimately inexplicable forces that support it, Herminio sculpture is an immersion in three dimensions in the deep nature of beauty shows while questioning the miracle of existence, consistency and durability of a beauty, however, like all things, hanging by a thread: hold supported by anything.
Stanya Harry Dodge & Kahn. Masters of None (2006) thinker Paul Virilio metaphorically described the video-screen television as a window-the third-, open in our home environment. A window that, unlike the door and the window itself, not connected with the real reality, but the real and virtual through the electronic image. What for him and for many other apocalyptic era, since the rise of television, a symptom of the collapse of our civilization, for the more adventurous artists are transformed from the marketing of portable video cameras in a new tool. One tool that almost instantly created a new kind of art, and whose first task was to become critically against what we ran massively from the third window : their content, their ideology, their codes, even his technique.
Almost half a century after the first marketing portapack Sony, Labor reviews: learning some of the landscapes that video artists have been opening the third window : ten beaches in five decades rather than an anthology of authors, it is the ways in which video art has been articulating their concepts, objectives and procedures to the same thread in the evolution of the mass media and technologies. Stories kinetic curated by Lori Zippay and including works from the collection of Electronic Art Intermix , is above all a good introduction to half still quite distant from the public in Spain, and does so in the context of a program that, under the title Universe Video , has called on several international curators under the Multimedia Center Expanded Art: One of the most flexible and attractive bet for Labour, whose approach is being left to notice the hand of his chief curator, Benjamin Weil .
However, kinetic Stories also has a lot of great little anthology itself. Simply check that among the selected authors, all based in America or Americans, "there are absolute references as the pioneers of video art Nam June Paik, Bruce Nauman, Dara Birnbaum or Pipilotti Rist. Each embodies a different approach, different procedures and, above all, the orientation of the third window into a completely different view of the changing landscape of mass culture in every historical moment. Always with one common denominator: the desire to use as a critical tool, experimental, reflective and exploratory means that same, ideologically, has served in large numbers to the contrary.
Takeshi Murata. Monster Movie (2005) collection Concert Video-film (1966-72) of Paik and Jud Yalkut represents a first stage joyful discovery, play with the technologies, collage, playful improvisation and research. Nauman turns the camera on himself, to his own body, and becomes a kind of performative prosthesis, foreshadowing the excellent relationship that has had the video with the performance, sculpture, installation, dance ... Lip Sync (1969) is a good example of this, and how Nauman uses repetition and small misalignments image-sound to make us become aware of the environment (a bit like when we repeat a word or daily action and become something strange, alien), witnessing our claustrophobia media.
The spirit of the underground American political radicalism and fueled the collective experiences Raindance in Media Primers (1971) uses video as experimental and adventurous record to pick up a Rolling Stones concert , a TV images of Nixon or a few words of activist Abbie Hoffman . the same year, but with a completely different spirit, is the wonderful Songdelay, of Joan Jonas: a ballet between childhood play and the choreography of the absurd that develops in the impoverished suburbs of New York seventies.
The self-conscious and ironic distancing themselves from the next decade, and feminist and anti-capitalist discourse, cross Pop Pop Video (1980), of Dora Birnbaum, that appropriates and distorts the talk TV: the soap opera the sports broadcasting, the police telefilm, ads. For its part, Pipilotti Rist (which Labor also displays these days a wonderful video installation in the group flights), directs his attention I'm Not A Girl Who Misses Much to a specific genre eighties -the video-and to pop music (Happiness is a warm gun, of The Beatles) to build one of his strange and wacky videopersonajes female.
Dara Birnbaum. Pop-Pop Video (1980) . The political, medical, the technological aspect of intimate and live in the two parts of the nineties: Strange space (1992), by Leslie Thornton AIDS takes as a starting point, mixing the voice of actor Ron Vawter reciting First chose the duinesa of Rilke, images inside the body and the lunar surface. For its part, Host (1997), Kristin Lukas creates a confusing overlay of images related to social networks, video games and our emotional dependence, and perhaps pathological Internet.
Finally, the third windows open at present are those of Takeshi Murata and tandem-Stanya Dodge Harry Kahn, showing a generation for whom the distinction between real and virtual no longer means just nothing. The first shredded into Monster movie (2005) Images a monster movie series B in the process of destruction of codes which, curiously, refers to Paik's experiments and, more back-to abstract painting. And Masters of None (2006), Dodge and Kahn's worth video as transparent medium with which fables between grotesque and sinister stories of family life in suburban single-family was Bush. impossible not to see, despite the apparent absurdity, the horror of Abu Ghraib and other contemporary terrors behind his Grand Guignol images.
(New Spain, supplement Culture, 2/10/1911)
Breastfeeding is an ecological practice. Mothers Breastfeeding does not require anything more than her breasts to give their babies nutrition and immunization through breast milk. 
